Stagehands are responsible for the setup, maintenance, and operation of the technical elements of a production, such as lighting, sound, and scenery. They assist in constructing and dismantling sets, moving equipment, and ensuring that everything runs smoothly during performances. Their work is crucial for the safety and efficiency of live events, whether in theater, concerts, or other performances. Additionally, stagehands often collaborate closely with directors, stage managers, and performers to achieve the desired artistic vision.
There is no patron saint of stagehands but there are patron saints of actors and actresses.
A stagehand is a person who helps setup and run a theatrical production. He or she usually works freelance in a particular area of the country on various touring shows as they travel locally. Traditionally, the stagehand will wear all black. Required tools are a good pair of work shoes, a crescent wrench, a multi-tool (like a Leatherman or Gerber), a cell phone and dependable transportation. Stagehands help in the construction of a set and may assist in the running of a spotlight, props, fly loft or in wardrobe. They report to a local steward who acts as liason between the stagehand and road crew. Many stagehands belong to IATSE, a subsidiary of the Teamsters Union. Many stagehands will have a geographical radius from their home that they are willing to work in, but many others live on the road, travelling from gig to gig.
A stagehand is a person who helps setup and run a theatrical production. He or she usually works freelance in a particular area of the country on various touring shows as they travel locally. Traditionally, the stagehand will wear all black. Required tools are a good pair of work shoes, a crescent wrench, a multi-tool (like a Leatherman or Gerber), a cell phone and dependable transportation. Stagehands help in the construction of a set and may assist in the running of a spotlight, props, fly loft or in wardrobe. They report to a local steward who acts as liason between the stagehand and road crew. Many stagehands belong to IATSE, a subsidiary of the Teamsters Union. Many stagehands will have a geographical radius from their home that they are willing to work in, but many others live on the road, travelling from gig to gig.
The curtain was lowered during scene changes in theater to maintain the audience's engagement and prevent them from seeing the behind-the-scenes activities. This practice creates a seamless transition between scenes, preserving the illusion of the performance. Additionally, it allows stagehands to work quickly and efficiently without distracting the audience from the story being told.
It depends on what time period you are talking about. When Shakespeare was acting, they had no scenery to speak of--only some large stage props like beds and thrones. Large set pieces would not have worked with the stages they had. In the Victorian era, the sets were huge and elaborate, and audiences expected to have to wait a long time while the stagehands changed them. In this period, the set designer got better billing than the actors.
There is no patron saint of stagehands but there are patron saints of actors and actresses.
Sing Faster The Stagehands' Ring Cycle - 1999 was released on: USA: January 1999 (Sundance Film Festival)
After the final performance, all the actors worked with the stagehands to dismantle the set.
The group is made up of stagehands who mainly shift furniture and heavier props.
Independent Lens - 1999 Sing Faster The Stagehands' Ring Cycle 1-8 was released on: USA: 27 September 1999
A stagehand is a person who helps setup and run a theatrical production. He or she usually works freelance in a particular area of the country on various touring shows as they travel locally. Traditionally, the stagehand will wear all black. Required tools are a good pair of work shoes, a crescent wrench, a multi-tool (like a Leatherman or Gerber), a cell phone and dependable transportation. Stagehands help in the construction of a set and may assist in the running of a spotlight, props, fly loft or in wardrobe. They report to a local steward who acts as liason between the stagehand and road crew. Many stagehands belong to IATSE, a subsidiary of the Teamsters Union. Many stagehands will have a geographical radius from their home that they are willing to work in, but many others live on the road, travelling from gig to gig.
A stagehand is a person who helps setup and run a theatrical production. He or she usually works freelance in a particular area of the country on various touring shows as they travel locally. Traditionally, the stagehand will wear all black. Required tools are a good pair of work shoes, a crescent wrench, a multi-tool (like a Leatherman or Gerber), a cell phone and dependable transportation. Stagehands help in the construction of a set and may assist in the running of a spotlight, props, fly loft or in wardrobe. They report to a local steward who acts as liason between the stagehand and road crew. Many stagehands belong to IATSE, a subsidiary of the Teamsters Union. Many stagehands will have a geographical radius from their home that they are willing to work in, but many others live on the road, travelling from gig to gig.
The curtain was lowered during scene changes in theater to maintain the audience's engagement and prevent them from seeing the behind-the-scenes activities. This practice creates a seamless transition between scenes, preserving the illusion of the performance. Additionally, it allows stagehands to work quickly and efficiently without distracting the audience from the story being told.
This is a problem that faces any director of any play where someone dies onstage, and there is no curtain to hide what the stagehands are doing. Since many modern theatres are thrust-stage theatres with no curtain, just as they were in Shakespeare's day, watching modern performances can give an idea of how this problem is to be solved. Generally at the end of a scene some stagehands come onstage and drag or carry the actors off, so the illusion that they are dead is not broken. There are three favourite methods: one stage hand comes from behind the actor and holds him under the arms and drags him out, one stage hand does that while a second stage hand carries the feet, or the stage hand carries the actor folded over his shoulder. Obviously the relative sizes of stagehand and actor are a factor on which one to choose, as is the position in which the actor falls. In a special case, a half a dozen stagehands might lift the actor and carry him on their shoulders in a lying position with arms akimbo. This is especially a favourite when it is the main character (Hamlet, Othello) who is being carried off. In some cases the script indicates how a corpse is to be removed: in Hamlet, Hamlet drags Polonius off, and in Julius Caesar, Antony carries Caesar, usually with one arm under the legs and another under the back. It helps to have a strong Antony and a relatively light Caesar when doing this.
It depends on what time period you are talking about. When Shakespeare was acting, they had no scenery to speak of--only some large stage props like beds and thrones. Large set pieces would not have worked with the stages they had. In the Victorian era, the sets were huge and elaborate, and audiences expected to have to wait a long time while the stagehands changed them. In this period, the set designer got better billing than the actors.
A play being performed that day was typically indicated by the display of a specific sign or banner outside the theater, often featuring the title of the play. Additionally, large crowds gathering outside the venue and the presence of actors or stagehands preparing could signal an upcoming performance. Moreover, announcements in local newspapers or through word of mouth also served as indicators of a scheduled play.
The lighting for plays performed in Shakespeare's day depended on where they were performed. If the plays were being performed outdoors, at an outdoor theatre or converted innyard, then the plays used natural sunlight. If the plays were performed indoors, at an indoor theatre, a private home, lecture hall, guildhall or court, the stage was lit with candles. When performing indoors, it was necessary to have a break at the end of an act so stagehands could replace burned-out candles.